Posts Tagged ‘andrea pazienza’

An unfortunately short and incomplete clip excerpt from “La parola e l’immagine”, a weekly tv program about comic art by Bruno Modugno broadcasted between 1979 and 1980, showing Filippo Scozzari coming out of a fridge and speaking about “Frigidaire”, “a luxury magazine for the great élite masses”. On the wooden stairs you can see Andrea Pazienza (with the red shirt), director Vincenzo Sparagna (above Pazienza, with the curly hair, the moustaches and the glasses) and, on top, Tanino Liberatore. On the fridge door, the cover for “Frigidaire” first issue, by Stefano Tamburini; the comic shown at about two-third of the video is a page from “La dalia azzurra” (“the blue dahlia”) by Scozzari, from a Raymond Chandler’s script.

I already had a couple of chances to mention the magazine “Frigidaire” before. To put it plain and simple, in its golden years – circa 1980-1986 – “Frigidaire” has violently pushed italian culture forward by kicks and shoves, forcily dragging graphic arts, journalism, arts and arts criticism, comics, music, popular imagery into the postmodern age. Founded in 1980 by agit-prop professional Vincenzo Sparagna together with people from the “Cannibale” crew – Andrea Pazienza, Stefano Tamburini, Filippo Scozzari, Tanino Liberatore and Massimo Mattioli – it has survived the sudden and premature death of its art director and author of the successful comics character Ranxerox (Tamburini, in 1986) and its most gifted visual artist and comics rockstar (Pazienza, in 1988), and a heavy turnover of contributors, being published until 1998.

Issue number 14, January 1982, came with two new year gifts: a pin-up 1982 calendar drawn by Andrea Pazienza and a 7″, 33rpm split EP with no sleeve. The a side, Invito a cena con Monofonicorchestra (“invitation to dinner with Monofonicorchestra)” – the one with the bloody razor – featured kinda no wave-muzak for weird cocktail parties where the barman took trieline instead of gin; the b side, Invito a letto con Naif orchestra (“invitation to bed with Naif orchestra”) – the one with the nude, bald woman with the glasses – had more of an imaginary soundtrack to an avantgarde porn movie, like, say, having sex with an answering machine. Incidentally, one of the most iconing records from italian new wave.

Monofonicorchestra (sometimes also spelled as Monofonic orchestra) was basically a moniker for Maurizio Marsico, an electronic performer, piano player and dj friendly involved with the “Frigidaire” guys. He contributed to the record with a series of short instrumental tracks named after the dishes of a full course dinner. If you ever happened to listen to his Friend’s portraits, released in 1981 by Italian Records, you will recognise the same familiar cartoon soundtrack-like style, with juxtaposed blocks of music, and the distinctive use of classic and contemporary minimal piano patterns – such as in “Secondo e contorno”, which runs after the melody from “Eleanor Rigby” in an endless spiral.

Naif orchestra was the pop outfit for Bigazzi brothers (Arlo and Giampiero) from Florence. They had founded the independent label Materiali Sonori – through which this EP was released – in 1977, to put out the first record of their avant-folk band Canzoniere del Valdarno. In the eighties, the label became a kind of an italian home for the likes of Tuxedomoon, Controlled Bleeding, Roger Eno, Embryo, The Durutti Column, Minimal Compact, Jon Hassell and many others, and hosted italian acts such as Militia, Neon, Giovanotti Mondani Meccanici, Arturo Stalteri (formerly of Pierrot Lunaire), Alexander Robotnick. As for Naif orchestra, what they contribute here are four mutant-wave-electro-disco tracks with sampled woman moans and funny explicit lyrics – except the last one, written with Marsico. They also succeded in entering the history of italo-disco with their classic “Check-out five” (1984) before going on indefinite hiatus.

Maurizio Marsico continues to perform and record music, most of the times together with his long-time friend Andrea Tich; anyway, he makes his living by directing an important monthly magazine about tv serials, “Series”. Arlo and Giampiero Bigazzi are still in the music business, you can check out Materiali Sonori’s site to learn about their work and browse the label’s catalogue.

Bologna 1977, “Skank Bloc Bologna”: the boiling point. Communist party as the establishment. Autonomia Operaia, Dams (the art and music faculty). The student Francesco Lorusso killed by the police. Indiani metropolitani, Radio Alice, situationism. Wrenches in the pockets. Pop culture is the weapon. Lambrusco wine and plegin. And sedatives. And heroin. Tortellini punk. The rise of post-modernism.

Traumfabrik was the name of a squatted flat in the center of the city, part house, part art studio, part club. People like Filippo Scozzari and Andrea Pazienza – members of “Cannibale” comics ‘zine’s crew and later founders of the seminal magazine “Frigidaire” – Renato De Maria, Oderso Rubini, and many others kids from the scene used to live, work, perform, or just gather there to meet people, listen to music, enjoy drugs, and have fun. Among them, the Ramones-fixated, leather-jacketed young guys who were soon to form the one-song, one-show punk sensation Centro d’urlo metropolitano (“metropolitan scream center”).

Their 25th September 1977 few minutes live appearance performing “Mamma dammi la benza” (“mommy gimme the fuel”) during a festival in Bologna, ending up in a paper balls fight between the stage and the audience, is a landmark in italian pop history, and anticipated the official breakthrough of “rock demenziale” (“demented rock”), a peculiar italian contribution to post-punk history whose most important representatives have been Skiantos, another band from the area.

Anyway, Centro d’urlo metropolitano was soon to mutate into a whole different thing. When their anthem was eventually released on the miscellaneous tape Sarabanda, the guys now known as Gaznevada (a name inspired by a Raymond Chandler’s short story) were already experimenting with sound and lyrics under the influence of acts such as Devo, Talking Heads, Pere Ubu and Contortions, evolving from their early raw and unorganized two-chords punk-rock attack towards the unique and amazing spaghetti-no wave of their masterpiece debut album Sick Soundtrack (1980).

Oderso Rubini, who had recently started his own label Harpo’s Music, taped them during their 1979 rehearsals, documenting the stunning work in progress which would have led to their first full-length effort. Gaznevada was the result of these sessions, and the seventh issue of the label. What you can find here is a band strugglin’ to find their true voice, between the disconnected upbeat of “Everybody enjoy with reggae music”, and the fascinating, sharp, lirically intriguing manifesto “Nevadagaz”, re-recorded for their legendary first 7″ in 1980. It’s the birth of a legend.

Get it: Gaznevada, Gaznevada aka Cassetta Harpo’s (1979)[edit March 9th, 2009: thanks to our friends at Shake Edizioni this tape is finally available on cd, with the title Mamma dammi la benza!, together with a short book about Gaznevada and the video Telepornovisioneby Giampiero Huber, Renato De Maria and Emanuele Angiuli. Obviously the download link has been removed. Go and buy it at the publishing house’s website.]

Gaznevada released four albums before breaking up in 1988, progressively shifting towards italo disco and synthpop. They joined Edoardo Bennato for his 1980’s Uffà uffà, and played gigs with the likes of DNA, Chrome, Lounge Lizards, Bauhaus. Their 1983 hit “I.C. Love Affair” is a club classic and has been recently remixed by Munk for the Confuzed Disco compilation (2006). Former guitarist Ciro Pagano (aka E. Robert Squibb) is a founding member of the successful italo-house outfit Datura.

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